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Book on the study of ancient Hawaiian music in the form of representative collection that was intended to be chanted. Also covers the sorting, translation and publication of the texts of chants without music, noting the distinction between the mele before the coming of the missionaries and the adoption of melody from the hymn-singing of the missionaries.
Audio Files located on Soundcloud Essential Song: Three Decades of Northern Cree Music, a study of subarctic Cree hunting songs, is the first detailed ethnomusicology of the northern Cree of Quebec and Manitoba. The result of more than two decades spent in the North learning from the Cree, Lynn Whidden’s account discusses the tradition of the hunting songs, their meanings and origins, and their importance to the hunt. She also examines women’s songs, and traces the impact of social change—including the introduction of hymns, Gospel tunes, and country music—on the song traditions of these communities. The book also explores the introduction of powwow song into the subarctic and the Crees struggle to maintain their Aboriginal heritage—to find a kind of song that, like the hunting songs, can serve as a spiritual guide and force. Including profiles of the hunters and their songs and accompanied (online) by original audio tracks of more than fifty Cree hunting songs, Essential Song makes an important contribution to ethnomusicology, social history, and Aboriginal studies.
First Published in 2008. Routledge is an imprint of Taylor & Francis, an informa company.
Vols. for 1847-1963/64 include the Institution's Report of the Secretary.
The transformation of acoustics into electro-acoustics, a field at the intersection of science and technology, guided by electrical engineering, industry, and the military. At the end of the nineteenth century, acoustics was a science of musical sounds; the musically trained ear was the ultimate reference. Just a few decades into the twentieth century, acoustics had undergone a transformation from a scientific field based on the understanding of classical music to one guided by electrical engineering, with industrial and military applications. In this book, Roland Wittje traces this transition, from the late nineteenth-century work of Hermann Helmholtz to the militarized research of World War I and media technology in the 1930s. Wittje shows that physics in the early twentieth century was not only about relativity and atomic structure but encompassed a range of experimental, applied, and industrial research fields. The emergence of technical acoustics and electroacoustics illustrates a scientific field at the intersection of science and technology. Wittje starts with Helmholtz's and Rayleigh's work and its intersection with telegraphy and early wireless, and continues with the industrialization of acoustics during World War I, when sound measurement was automated and electrical engineering and radio took over the concept of noise. Researchers no longer appealed to the musically trained ear to understand sound but to the thinking and practices of electrical engineering. Finally, Wittje covers the demilitarization of acoustics during the Weimar Republic and its remilitarization at the beginning of the Third Reich. He shows how technical acoustics fit well with the Nazi dismissal of pure science, representing everything that “German Physics” under National Socialism should be: experimental, applied, and relevant to the military.
How do we explain the globalized musical world in which we find ourselves in the early 21st century and how did we arrive here? This extraordinary book outlines an understanding of the human musical story as an intercultural—and ultimately a transcultural—one, with travel and trade as the primary conditions and catalysts for the ongoing development of musical styles. Starting with the cultural and civilizational precedents that gave rise to the first global trading and travel network in both directions across the Afro-Eurasian Old World Web in the form of the Silk Road, the book proceeds to the rise of al-Andalus and its influence on Europe through the Iberian peninsula before considering the fusion of European, African and indigenous musics that emerged in the Americas between c1500-1920 as part of Atlantic culture and the New World Web, as well as the concurrent acceleration of globalism in music through European empires and exoticism. The book concludes by examining the musical implications of our current Age of Instantaneous Exchange that technology permits, and by revisiting the question of interculturality and transculurality in music.